Day 5 9 | 8 | 2015 8 MB - Festival del film Locarno



Day 5 9 | 8 | 2015 8 MB - Festival del film Locarno
68° Festival del film Locarno
Chantal Akerman
Michael Cimino
Petra Costa
Lea Glob
Santiago Lozano Álvarez
Ángela Osorio Rojas
Zach Weintraub
PardoLive Partner:
Festival del film Locarno
Bend it like Beckham
Winner of the Prix du Public UBS in 2002
Gurinder Chadha, director
Prix du Public UBS
Vote and win: choose your favourite film
in the Piazza Grande and win an iPad Air.
Fermo immagine
Carlo Chatrian
Artistic Director
Piazza Grande, The Deer Hunter, 9 | 8 | 2015 – 23.30
Il destino
in un colpo solo
L’innocenza perduta che si scuce in un lungo canto tragico. E non è solo il Vietnam con il suo squarcio storico che tanto cinema americano ha tentato di raccontare ed elaborare, ma qualcosa che ha avuto la profondità di farsi gorgo
universale, perché in fondo, prima di tutto, The Deer Hunter è un film sull’amicizia. Un intreccio di rapporti umani, strattonati a forza dentro quel devastante
trauma collettivo che è l’esperienza di guerra. Una foresta, fisica e simbolica,
che l’occhio di Michael Cimino attraversa – con le risonanze del prima e del
poi – sfrondandola di qualsiasi appiglio eroico. È la tragedia umana e visiva di
un sopravvivere, evidente certo nella scena-cult delle roulette russe con cui i
Viet Cong scommettono sulla vita dei prigionieri, ma che in realtà abbraccia una
parabola molto più vasta, in cui gli indizi premonitori appartengono alla stessa famiglia psichica degli effetti postumi. Dalle gocce rosse malauguranti che
imbrattano il matrimonio celebrato a inizio film, seguendo la tradizione degli
immigrati russi in America, alle scene della caccia al cervo “da uccidere con un
solo sparo” come vuole Mike (Robert De Niro) nell’ultima gita prima di partire al
fronte. Il destino e la ferocia degli eventi è come fossero annodati fin da principio,
perché nel grande romanzo dei rimandi la vita quotidiana in Pennsylvania e le
angosciose immagini di guerra scorrono su una stessa cerniera fatale, senza una
vera discontinuità. Del resto, tutto il film si basa sull’eterno ritorno di “quel colpo
solo” che continua a trasformare la vita dei tre amici, strappati da casa e mandati a combattere una battaglia lontana contro qualcosa di molto più grande di
loro. Una sfida antieroica che sfugge alle motivazioni politiche del momento e
alle caricature del nemico, perché qui il cinema col suo montaggio dilatato si fa
capace di assorbire immagine dopo immagine le menomazioni di chi ne è stato
invischiato. Una corrosione di quei vincoli d’umanità a cui solo i sentimenti residui d’amicizia sembrano opporre resistenza.
lorenzo buccella
The issue of having quotas for women seems to have
landed with some force in the festival world. Two
things need to be said from the start. It’s true there
is a minority of women behind the camera (in some
countries, like Japan, their numbers are embarrassing).
But selecting a film made by a woman for reasons of
principle is not the best way to help bring change to
the system. And are we so sure that a film depends
only on its director anyway? Asking the question are
two films in this year’s programme, written by women
and bearing their unmistakable trademark (Ricki and
the Flash and Trainwreck).
Thanks to a panel organized in collaboration with Focal – which will analyse the success of films directed,
Olmo & the Seagull
produced or written by women – Locarno will be confronting the issue, and on a day dominated by women.
I’m thinking first and foremost about the moving film
in the form of dialogue that Chantal Akerman has
dedicated to her mother, but also about the two titles
in the Concorso Cineasti del presente, both directed by
women. Olmo & the Seagull, in particular, deals with
a closely related theme, how to reconcile motherhood
with career ambitions.
L’Ombre des femmes
Before the day closes with a tribute to Bulle Ogier –
much more than an actress, she was an accomplice to
directors both male (Rivette) and female (Duras) – we
have the screening of a film that in my opinion is one
of the strongest moments of this season. L’Ombre des
femmes, the latest work by Philippe Garrel, will be
introduced by his two fantastic stars, Stanislas Merhar
and Clotilde Courau.
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Cinema =
Focus on Michael Cimino
Non si nasce con la libertà. La libertà è qualcosa che va
conquistata e che bisogna guadagnarsi giorno per giorno.
È una battaglia faticosa da condurre in ogni momento
Since the day you came to Hollywood, you
have directed seven movies but you also
admitted to have written more than 50
screenplays. Why?
Out of ten written screenplays, it is possible
to produce only one. It is practically always so,
almost a natural law: you always create much
more than what you’re actually watching on the
screen. I think that it is fundamental to go on
writing, with perseverance and sacrifice, because
the situation is as obvious as simple: more
you’re writing and more opportunities you’re
having to realize your project. If you’re getting
discouraged, you’re lost forever.
Is there still space for creative freedom in
this movie industry where business and its
needs are so prevalent?
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One cannot be born with freedom, that’s for sure.
Freedom is something you have to conquer, and
earn, day by day. It is a strenuous battle to fight
during every moment, the only way I have to
conceive freedom. I think that the sense of life
is in motion: to stay alive you have to move,
over and over again. Only when death comes,
movement is denied.
But in the last period, in your opinion, has
American cinema been able to renew itself
Results are exclusively depending on will and belief people are demonstrating when they develop
their ideas. We can all move, but moving is not
enough to reach quality. It depends on mental
attitude you keep facing such an experience.
Everybody of us has to put effort into realizing
something with value. In order to achieve our
objectives, we have to show off all our willpower
and dedication.
In 1979 The Deer Hunter, your most
succesful movie, won five Academy Awards.
Where did its subject come from?
In America the idea of family as social nucleus
is disappeared, it does not exist anymore since
a long time and I already wanted to show it
in The Deer Hunter. Today family has
become our own group of friends and
everybody has his own – a situation
which reflects the same we saw
in Federico Fellini’s I Vitelloni,
where friends constitute a
sort of family. Today we are
then creating our own
= Cimino
family, while several years ago we were used
to inherit it, to be born in it. There were not any
other chances. Now it is an act of creation.
An important French critic, Serge Daney,
wrote that American Dream is a leitmotiv
which goes through all your cinema. Is it a
broken dream?
No, because the American Dream is not
anything different that a world dream and
America is only one of the many world creations,
but it has been able to capture aspiration
of many people coming from all
over the world. Still today,
America is a new form of
worldwide experiment:
150 years ago coloured
people were still in
chains, but today the President is African-American as the female tennis world champion. This
is the proof that American Dream still works.
Obviously this is not an ideal world, there are
still many mistakes, things that do not work, but
the dream goes on, is alive, jumping everywhere.
America is like a kid, sometimes you have to tell
him to shut up and to stay quiet. It is inevitable,
we are young and pretty noisy but you have to
be patient, sooner or later we will grow up.
lorenzo buccella
PardoLive  9 | 8 | 2015
Focus on Clotilde Courau
and Coura
Ms Courau, you are a member of the Concorso Cineasti del presente
jury. This year you had the opportunity to play in a special film, Philippe Garrel’s L’Ombre des femmes, which is screened in Locarno
and had a fantastic reception in Parisian cinemas and in Europe.
How did you start your collaboration with the director?
I met him thanks to his son Louis. It was him who told me that his father
was about to make a new film and was looking for an actress. So he contacted me, he immediately gave me the script to read and told me: “I have
no doubt about the actress, but I must first watch you through my camera”. He had already chosen Stanislas Merhar and brought both of us in a
bar in Place Saint Sulpice to read together a few pages of the script and
take some pictures. Only then he confirmed me the part: he is a director
who still believes in the alchemy that has to be formed into the pair.
Philippe Garrel is known for his meticulous work with the actors.
Which requests did he make to you when you started working
First of all, he asked me to be free in the six weeks before we were turning the movie. For him it is important to establish a strong relationship
with his actors. We are living in a film industry that often makes us
forget its profound meaning, the human adventure that should underlie
every film. When you are with Philippe, it is as if we could stop this fast
and furious car to give back time to time. This is Garrel’s great teaching,
which is expressed by his approach. Rehearsing with the actors a lot, to
Prix du Public UBS
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shoot only once with a single camera setting. It is a risk, but it produces
an unforgettable cinema.
In L’Ombre des femmes you had the chance to play the complex role
of a strong and bright woman. How was your meeting with Manon?
Manon is a real heroine. For an actress it is a pleasure playing a role like
that because then people are used to associate you with the characters
you have played in your career. Manon is primarily a woman full of light,
I talked with Garrel in order to find me this inner dimension and then
make it shine through the gestures, the look, the tone of the words. I think
it is moving seeing a man who is more than 60 years old and wants to
tell such a love and resistence story, trying to assume a female point of
view and represent the male one with irony.
Among Garrel’s movies, this is one of the most open and positive.
The lightness that characterizes your performance and Stanislas
Merhar’s one was something already perceptible on the set?
I was very impressed that the film did very well in French theaters and
that audience has been able to overcome the barrier put by a black and
white work. I think it happened because there is a positive vision which
emerges. When we started shooting, everyone was describing Garrel to
me as a troubled man, but he welcomed me on the set with a smile and
his positive mood had immediately pervaded all the actors.
daniela persico
Vote and win
Yesterday’s prize draw winner:
Vincent Diederich
Il personaggio di Manon è una
vera e propria eroina, una donna piena
di luce. È molto piacevole interpretare
un ruolo del genere, ricercando una
dimensione interiore fatta soprattutto
di piccoli gesti, sguardi e parole
© Alessio Pizzicannella
PardoLive  9 | 8 | 2015
Piazza Grande, Floride, 9 | 8 | 2015 – 21.30
La Florida come meta è un’idea che
ci è venuta quasi per caso; poi l’abbiamo
declinata in vari motivi (l’automobile
Floride, le palme) e così è diventata un
luogo mitico. In fondo, la Florida è un po’
come una sala da cinema, uno schermoscrigno dove si può sognare, dove chi
amiamo è per sempre con noi…
philippe le guay
There’s no best remedy than laughing about things we should
cry about. There’s no more powerful drama than the one which
makes you smile. These are the best possible lessons great comedy authors like Charlie Chaplin, Ernst Lubitsch, Billy Wilder or
Woody Allen gave to us. This is Floride goal: the Philippe Le
Guay film deals with serious themes like memory, loss and
aging in a way that mixes lightness and painful moment in
a difficult balance. The director could try this extremely dangerous cocktail only because as main actor he had one of the
PardoLive  9 | 8 | 2015
The Un
few performers in the world able to give the audience exactly
this: Jean Rochefort with his elegance, his sublime touch, his
ability to switch from drama to comedy (and vice-versa) in the
same shot, is simply stunning. He is, obviously, the heart and
soul of Floride. How could have been emotionally difficult for a
85-years-old actor like him playing a man at the end of his painful and both soave journey? This is the fair question the audience can’t avoid to ask themselves during the whole movie. The
answer is in Monsieur Rochefort eyes, fulfilled with a personal
ness of Jean
story that drives all of us over the fiction to something that is
in some way the essence of art: the awareness that he won’t
be forgotten. Years ago his tricky health couldn’t allow him to
act Don Quixote for Terry Gilliam. In Floride, in a way that only
cinema can find, Jean Rochefort had his artistic retribution and
fought against the windmills of time. And – just like only the
daydreamers do - won.
adriano ercolani
PardoLive  9 | 8 | 2015
Concorso internazionale, No Home Movie, Auditorium FEVI, 10 | 8 | 2015 – 14.00
È un film su mia madre, che non c’è più; era
arrivata in Belgio nel 1938, in fuga dalla Polonia,
dalle atrocità e dai pogrom. Qui la vediamo solo
nel suo appartamento. Un film sul mondo che
cambia e che mia madre non vede
Love Letters
through Skype
This film is an act of love, one so direct and
brazen that it becomes something else. And
given that no words will ever be able to
translate a daughter’s gesture towards her
mother, let’s dwell on what else Chantal Akerman describes in this film.
Filming her mother, Akerman takes leave
of a world that is disappearing – that of the
20th century and its great tragedies – and at
the same time decides to survey a new reality and its relationship with the concept
of space. She herself says it: I want to show
how there is no more distance in the world.
If for a whole century cinema has served as
a link between here and elsewhere, laying
out the narrative as a journey from one to
the other, now this journey has lost its significance, because images no longer need
cinema to travel.
No Home Movie is a film of presences.
A film where the camera records the flow
of time. A film designed like an installation,
in other words using a device to draw out
something that a traditional production can
no longer deliver. Look at the shots that compose it: the out-of-focus face of an old woman on a computer monitor, a tree battered by
the wind with the desert behind it, glimpses
of a house whose furnishings reveal a petitbourgeois context, a modest kitchen…
What makes them significant? What is it
that she does to make these simple images
become presences that we must confront?
As always in Akerman’s films, the answer
lies in the duration, in extending the weight
of the gaze just a bit further than necessary, so that something else can resound.
Rightly Chantal Akerman states that she is
not making a family film. But she constructs
a discourse on the family that concerns our
relationship with images.
carlo chatrian
PardoLive  9 | 8 | 2015
A great award
for Marco Bellocchio
and Michael Cimino.
A great honour for us.
For the 19th time, Swisscom is the main sponsor of the Festival del film Locarno.
And just like every year, the Pardo d’onore is going out to two of the most
influential directors of our time. We would like to congratulate Marco Bellocchio
and Michael Cimino and thank everyone who helped us make this Festival del
film Locarno possible.
Welcome to the country of possibilities.
PardoLive  9 | 8 | 2015
Concorso internazionale, Heimatland, Auditorium FEVI, 10 | 8 | 2015 – 16.30
La Svizzera
del diluvio
Our homeland is basking in
security, prosperity and neutrality,
even if a black cloud is looming
over it. We wanted to have a better
gaze. To understand what we are
connected by, when storm comes
michael krummenacher and jan gassmann,
representing the whole group of directors
Incominciamo col dire che Heimatland non è la classica operazione condotta dall’alto per cavalcare il “best of”, che di norma si
traduce in insipidi film a episodi. Il film è un progetto molto ambizioso e promettente che si compatta attorno a un’idea semplice
e dall’evidente sapore politico. Proseguiamo col dire che Heimatland è il frutto della collaborazione tra una generazione di registi
e produttori – tutti molto giovani – che hanno voluto comporre un
racconto a più voci con l’obiettivo di scuotere la Svizzera dallo stato
di torpore in cui si trova. E questo è un bel segnale che va salutato
e sostenuto.
Venendo al modo in cui il film articola il suo discorso, va detto
che la distopia proposta ha dei tratti che non sarebbero dispiaciuti
a Philip K. Dick. La grossa nube, che come una spada di Damocle si
addensa sulla Svizzera e che impone alla società un ripensamento
delle proprie convinzioni, è un’idea tanto improbabile quanto felice. Come se fosse l’incipit di uno scenario di fantascienza, il film
raccorda diverse traiettorie tutte unite dal rapporto con la situazione di emergenza.
Il principio sta nell’effettuare il passaggio dalla visione di una
società, confrontata con la necessità di fornire risposte al diluvio
che sta per investire il paese, allo sguardo intimo nella psiche di
ogni personaggio, a mostrare come questi sia influenzato dal cataclisma.
Realtà e sogni, incubi e azioni si mescolano senza soluzione di
continuità. Molto più che un film socio-politico, Heimatland si offre
come la radiografia di un paese, letto in quelle linee di fondo che
investono gli individui e inducono radicali cambiamenti prima che
sia troppo tardi.
carlo chatrian
PardoLive  9 | 8 | 2015
Auris Hybrid Swiss Trend, 1,8 VVT-i, 5-door version, 100 kW, average consumption 3,9 liters per 100 km, average CO₂ emissions 91 g/km, energy efficiency
category A. Average CO₂ emissions of all vehicle models registered in Switzerland: 144 g/km.
Concorso Cineasti del presente, Olmo & the Seagull,
La Sala, 10 | 8 | 2015 – 11.00
Celebration and Sacrifice
Olmo & the Seagull cerca di
prendere in esame le cose che celebriamo
e sacrifichiamo nelle nostre vite, il nostro
obiettivo era popolare il confine tra
finzione e realtà. Come registe, abbiamo
anche provato a confrontarci con la
carenza di film che offrono un’interessante
rappresentazione del complesso e intenso
percorso della gravidanza
petra costa, lea glob
Humans tend to lie to themselves. When making decisions, they labor under the illusion of freedom, unconsciously keeping discouragement at bay. If someone can fall in love because they had nothing
to do, as in Luigi Tenco’s song, why not consider the idea that key
orientations in our lives stem from… mistakes. A wrong choice that
becomes the right one just because it was made, and imposes its
tyranny of reshuffled priorities and reframed ambitions.
Olivia (Olivia Corsini) is a theatre actress who loves her demanding and rewarding profession. Her boyfriend Serge (Serge Nicolaï, a
pillar of Ariane Mnouchkine’s Théâtre du Soleil) is also her partner
on stage, and with their troupe she is rehearsing a major part in
Chekhov’s The Seagull. That is, until she is unexpectedly faced with
one of the most fundamental dilemmas in a woman’s life. To either
keep on enjoying her career fully or to start a family.
The duo of female directors not only tackles an ever-absorbing subject, but does so in giving birth to an alluring and eloquent hybrid between documentary, reverie and playful staging. Petra Costa and Lea
Glob, respectively Brazilian and Danish born, but decidedly multicultural, navigate the flow of emotions as freely as they do the variations
of their actors’ languages. Their camera stays close to Olivia’s dreamy
face, occasionally diving into her thoughts as she follows them down
the themed tracks of hope and fear, certainty and doubt. Because if
life is a stage, when faced with its tricks and traps our knowledge of
the great playwrights appears to have left us none the wiser.
aurélie godet
PardoLive  9 | 8 | 2015
Eat different.
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wide wine selection,
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Panorama Suisse
Wild Women – Gentle Beasts
Anka Schmid
Documentary, 2015, 96 min.
Monday, 11:00, FEVI
Pardi di domani – Concorso nazionale
Karim Sayad, Matthias Sahli, Jela Hasler,
caterina Mona, Lora Mure-Ravaud
Monday, 14:00, La Sala
Concorso internazionale
«Hausarrest» by Matthias Sahli
Michael Krummenacher, Jan Gassmann, Lisa Blatter
Gregor Frei, Benny Jaberg, carmen Jaquier, Jonas
Meier, Tobias Nölle, Lionel Rupp, Mike Scheiwiller
Fiction, 2015, 99 min, Switzerland
Monday, 16:30, FEVI
Swiss Highlights in Locarno
on Monday, August 10
Piazza Grande
Georges Schwizgebel
Animation, 2015, 6 min.
Monday, 21:30, Piazza Grande
Concorso Cineasti del presente, Siembra, La Sala, 10 | 8 | 2015 – 18.30
Balli da battaglia
Negli slums di Cali si intrecciano diversi
generi musicali: contro i fiati della cumbia
colombiana si alzano i beat di un hip-hop
mutuato dalla scena musicale americana,
che scuote i plastici corpi dei più giovani,
finché entrambi non dovranno cedere la
scena alle note e ai versi dei canti funebri
tradizionali creoli.
Ángela Osorio Rojas e Santiago Lozano
Álvarez usano la musica della città come
trama della loro opera prima, ricorrendo a
diversi ritmi e tradizioni per creare il paesaggio sonoro in cui collocare i loro personaggi, in particolare quello di Turco, iconica
slanciata figura alla deriva nella città, la cui
presenza in scena non può non ricordare il
Ventura attore feticcio di Pedro Costa. Turco è uno delle migliaia di migranti costretti
dal conflitto armato interno in Colombia
a lasciare la vita rurale per trasformarsi in
riluttanti cittadini. Il figlio Yosner al contrario è fin troppo rapidamente assimilato dal
nuovo stile di vita; lascerà al padre i passi
della cumbia per primeggiare nelle dance
battles di quartiere, nuovi rituali pagani che
minacciano di sostituire quelli religiosi che
la comunità ha importato dalla campagna,
e tenta di tenere in vita e tramandare. Con
Siembra il giovane cinema latino-americano conferma di saper calare questioni sociali e politiche urgenti, che in altri tempi
sarebbero state squadernate puntando sul
naturalismo e l’immediatezza della denuncia, in opere precoci eppure già formalmente ambiziose e mature, capaci di squarci
sergio fant
We wanted to explore
eradication as a feeling, a
bloody root trying to find
its space to grow up. The
relationship with land is
memory and self-awareness;
the grief represents instead
a way to close a wound,
setting back the roots to
move forward
ángela osorio rojas,
santiago lozano álvarez
Fondazione Bally per la Cultura ricerca ogni anno un artista ticinese attivo nel
campo delle arti figurative (pittura, scultura, fotografia e grafica) che avrà
l’opportunità di essere sostenuto e supportato a livello internazionale da uno dei
Brand più famosi nel settore del lusso.
PardoLive  9 | 8 | 2015
«Una bella
storia rimane
fino alla fine.»
Pensaci, ora tocca a te.
Swiss Life, partner ufficiale dei Pardi di domani, sostiene i talenti svizzeri del cinema
e offre una previdenza completa – per una vita più lunga e secondo le proprie scelte.
Fuori concorso, Genitori, La Sala, 10 | 8 | 2015 – 16.15
La stanza
dei figli
Per il suo esordio con Rumore bianco Alberto Fasulo aveva disceso il corso del fiume Tagliamento, e intrapreso un altrettanto
tortuosa ricerca del cuore del suo Friuli, la
regione dove è nato, vive e ha fondato la sua
casa di produzione. Con TIR, premiato con
il Marc’Aurelio d’Oro al festival di Roma, da
quello stesso territorio si metteva in viaggio
lungo le autostrade d’Europa, superando sia
i confini tra paesi che quelli tra fiction e documentario, per raccontare un continente
alla deriva visto dalla cabina di un camion.
Ora Fasulo ha filmato un altro viaggio, ma
tutto all’interno di una stanza, in cui la distanza da coprire è quella che porta a conoscere e comprendere chi ci sta di fron-
te, così vicino. Protagonisti sono i membri
dell’Associazione Vivere Insieme del paese
di San Vito al Tagliamento, padri e madri di
figli disabili o malati che s’incontrano per
confrontare dubbi e paure, ma anche gioie
e speranze. Lo sguardo di Fasulo stringe sui
loro volti, capta ogni sfogo e silenzio, sfida
il dolore testimoniando immenso rispetto.
Grazie a Genitori quella stanza, scrigno custode di quanto di più prezioso quelle persone vivono e raccontano, apre le sue porte
a ognuno, invitandoci a sederci, ascoltare,
condividere quei sentimenti e quel coraggio per ricordarci che sono dentro ognuno
di noi, se mai ce ne fossimo scordati.
sergio fant
Signs of Life, Slackjaw, PalaVideo, 10 | 8 | 2015 – 21.00
Punk Human Guinea Pig
Our sad-sack hero, Rob, has no discernible
employment outside of fronting a hardcore
punk band, which can’t really pay the bills.
Multinational conglomerate EvCorp has set
up shop in Rob’s small town (actually Olympia, Washington), and he and a friend apply
to be a human guinea pig for “organic synthesis research… to aid the brothers and
sisters overseas,” justifying it by explaining:
“It’s the most American thing I can do”. After undergoing a series of bizarre tests, he
Proudly presents
the latest arrivals
isn’t picked, but his pal stays behind. On his
way out, Rob runs into Jesse, an old highschool friend who’s obsessed with a song
they played together, back in Rob’s ukulele
days. With nothing much better to do, Rob
falls in with Jesse and his friends, more
bros than hipsters, whose mindless forms
of interaction represent a way of life far removed (and more appealing?) from Rob’s
reality. All the while, the looming presence of EvCorp threatens to split the com-
Bille August, director
Mehdi Ben Attia, director
Karolina Bielawska, director
Jean Douchet, director
Philippe Falardeau, director
Patrick Huard, actor
Anurag Kashyap, director
Melanie Manchot, visual artist
munity – shooting in widescreen, director
Zach Weintraub throws a soupçon of semiurban paranoia into the indie recipe – and
Rob’s physical and mental health seem to
be deteriorating. Slackjaw may refer to a
medical condition exacerbated by excessive July 4th hot dog consumption, but of
course also evokes the slacker cinema of
which Zach Weintraub’s bromantic dramedy is a superb addition.
mark peranson
Stanislas Merhar, attore
Stefan Schwietert, director
Georges Schwizgebel, director
PardoLive  9 | 8 | 2015
Focus on Industry days
From Locarno
A conversation between Carola Ash, Director of Europe,
Academy of Motion Picture Arts and Sciences and Nadia Dresti,
Delegate to the Artistic Direction and Head of International
Carola, can you explain us your current position within the Film
I work now for the Academy of Motion Pictures, World-famous for the
Oscars, in a new position they created which of Director of Europe, to
look after the European membership, as ten per cent of the membership
is now based here, and growing all the time. I primarily look after the
members, but I guess my main reason for being here is to let people know
that the Academy has an office in Europe, and also just to talk to Industry people and like-minded institutions in Europe, and to meet filmmakers.
My visit coincides happily with Locarno giving this tribute to Andy Garcia, to whom I have a personal connection to, having worked for him on a
past job that I had. My background has been in film production, I guess I
know a lot about production and financing, so I am always happy to give
advice, particularly within the UK as it was where I have been based, but
now this role with the Academy is my full-time job.
How do you see the relationship between the Academy and Film
Festivals? After all they are all institutions giving
CA: I think that Festivals are key in discovering more and more new
films, which potentially could be Oscar contenders, particularly obviously
in the Foreign Language category. I guess Toronto is a prime example, as
a large percentage of films that go on to be nominated for the Oscars is
shown there first. I think certainly there are several festivals that have
this sort of position where industry insiders are looking out and see what
are the films that are getting the critics excited, and therefore you read
all sort of reports that say a title could be a future Oscar contender. So I
see that there is definitely a close relationship in that respect. That said,
the Academy definitely has to keep a subjective point of view, as it is not
part of its mission to promote films, but they leave it to their members to
make the selection.
Nadia the relationship between Locarno and the American Film
Industry has alwas been a strong asset for the festival.
Yes, of course, because the American Film Industry is still the most prominent in the World. Having American Cinema in the festival selection
is relevant especially for the Piazza Grande, where it’s always great to
present a window to new Hollywood productions for our audience. As for
the Industry side, it’s very important to host buyers from the US, so for
example we have several buyers that come from New York that fly in and
discover the kind of films that we show here, because they are interested
mainly in Independent and Arthouse. And let me add that the fact that
Carola is here is very important for us, because it gives the chance to
filmmakers and European organizations to get closer to Hollywood. We
PardoLive  9 | 8 | 2015
don’t have to be afraid to get close to Hollywood, discuss and get to know
each other to understand our differences, but also work together on the
same goals we have.
There was an headline in The Hollywood Reporter that said: «Locarno Film Festival: Europe’s Sundance?». Would you care to comment
on it?
ND: I love it!
CA: Certainly Locarno has a reputation for supporting independent films,
and it has a very strong tradition in that.
ND: Much like Sundance, it’s also a discovery festival, it’s a festival for
new talent. It’s small, you can talk to people, connect, and create some
buzz, and of course it’s all about the quality of the films as well.
What do you think about the future of film festivals, given the everchanging scenarios within the Industry?
ND: Festivals are more and more important, now that Theatrical Box
Office is going down, and people are watching films in a different way,
using different platforms, because festivals have become the places where people want to go and have a more «human» relationship and connect
with Cinema, so they are becoming more strong. But their main task will
always remain to launch films and create opportunity for filmmakers,
even if for a certain kind of productions they have remained the only
opportunity to be seen on the big screen.
CA: Within American studio productions, there are tentpole pictures that
don’t need any further promotion, but then there are also the so-called
«specialist» pictures, and they will always need festivals to be promoted
and stand out in the crowd. I am also a great believer in shorts, because
they are a great way for fresh, new filmmakers to put their foot in the
door, and I hope that festivals will carry on showing them, since it’s
extremely rare nowadays to watch them in commercial theaters.
What is the achievement that you want to bring home from this
year’s edition?
CA: The Academy was never in Locarno as an institution, apart from the
fact of course that through the years a lot of Academy Awards members
have been guests at the Festival,
so I am glad I am here to create a
presence, in one of the most important festivals in Europe.
ND: For us, I hope it’s the beginning of a long history together
with the Academy.
Nadia Dresti
massimo benvegnù
© Fabrizio Maltese
to the Oscars
Carola Ash
Industry numbers
Countries represented: 64
Participating insitutions and companies: 468
Watch the video
Professionals attending: 910
Industry Screenings: 59
of the interview on
PardoLive  9 | 8 | 2015
La nuit
de la SSR
Spensierati all’evento e prevendita alla stazione FFS.
23 RA_363 Typo-Inserat Event (i) 186x17, FiFL.indd 1
20.06.14 11:22
PardoLive  9 | 8 | 2015 | Foto: © Festival del film Locarno
Insieme, l’energia
diventa emozione.
Azienda Elettrica Ticinese
Anche quest’anno, AET e il Festival del film
Locarno uniscono la loro energia per illuminare
la Piazza Grande d’emozione. Buona visione!
Sponsor principale del Festival del film Locarno
in the Program
An additional screening of the films
Pardi di domani: Concorso internazionale
is set aside:
História de uma Pena
Salarié oriental
L’altra Sala
10 | 8 | 2015
Fuori concorso: Art Basel
A New Voice
for the Festival
Among the 432 pages of this year’s Festival del film Locarno catalogue you can find the name of Art Basel, under the Fuori concorso
section: a list of five short movies for the Wandering Voices selection
which inaugurates a new collaboration between the two events.
Sergio Fant, member of the Festival selection committee, took
part to the presentation of a special program dedicated to Duncan
Campbell and screened at the Stadtkino Basel in June 2015. “The
question was: which kind of crossroad could we find between cinema and modern arts? We chose Campbell due to his affinity with
both these worlds and it was incredible to discover in the Art Basel
audience such a passion for movies, in a sold-out screening. For us,
this collaboration represents a plus”.
For Maxa Zoller, curator of Art Basel’s film section, the title of the
selection is quite representative. “We decided to call it Wandering
Voices for exploring the role of the voice in filmmaking, but also for
presenting a political dimension which has also recently led many
people to occupy squares and streets, speaking out their desires and
needs”. In 1931, Fritz Lang’s M for instance used an off-frame voice
to describe pure evil represented by a child murderer. “And since
then – Zoller remembers – it is an incredible tool to describe what
there is outside the frame. We thought it could be the perfect starting point for our new collaboration. To celebrate it, we chose a range
of artists from the Seventies until now, with different backgrounds.“
From John Smith’s The Girl Chewing Gum (1976) to Shirin Neshat’s Turbulent (1998), not to mention Laure Provoust’s It, Heat,
Hit (2010), the Art Basel in Locarno selection also introduces two
more recent works: Karolin Meunier’s Anfangsszene and Melanie
Manchot’s Twelve, both shot in 2015. “We are looking forward to see
how this collaboration will develop – the Art Basel Gallery & Project
Manager Michael Müller claims – and we are happy to host Meunier
and Manchot, who will attend the screening of their short movies”.
Wandering Voices selection will be screened at PalaVideo on August 10th, at 16.15.
mattia bertoldi
... have
packet LUNcH
TEL +41 (0)91 751 45 45 • [email protected]
botteler or
wat fee
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Clémence Poésy e Melvil Poupaud,
attori di Le Grand Jeu
© Fabrizio Maltese
Eduardo Martínez Peña,
attore di Te prometo anarquía
Il Presidente Marco Solari e Amy Schumer
Il regista Pietro Marcello.
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Il regista Qiu Jiongjiong
L’attrice Yael Abecassis
La regista María Alché
Diego Calva, attore di Te prometo anarquía
Il regista Philippe Le Guay
Sabine Azéma, attrice di Cosmos
Rufus, attore di Chant d’hiver
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Il Ticino è di moda.
Beyond the Festival
A Thousand
Leaving the lake region and travelling into
the valleys, you will note that the landscape changes radically: mountains, rivers,
waterfalls and wonderful forests make this
territory very fascinating, wild and unique.
Here you can find small and typical villages
almost untouched by the ravages of time
considered real architectural jewels and living evidence of secular history. This region is
the ideal place for hiking (with a very large
network of hiking trails). Thanks to several
cable cars, it is possible to easily reach very
small settlements and mountainous settings of extreme beauty. From the summit
of Cardada-Cimetta, right above Locarno,
the view is absolutely breathtaking: you can
see the lowest point (Lake Maggiore) right up
to the highest point of Switzerland (Dufour
peak in Monte Rosa). The Centovalli Valley is
one of the favourite destinations of hikers:
this valley can also be visited by travelling
on the suggestive Centovalli Railway train
starting from Locarno. The recluse Onsernone Valley is characterized by an ensemble
of charming villages, chosen by numerous
international writers and artists as their
home, and is also known for being the most
mysterious valley. The Vallemaggia is a huge
territory with impressive smaller side valleys, a land rich in history, with an appealing
sole and peaks reaching over 3000 metres
above sea level. Last but not least, the Verzasca Valley, well-known and appreciated
for the extraordinary beauty and magic colours of its river. Mount Ghiridone and Mount
Gambarogno are two further exciting hiking
destinations and also offer fantastic views
over land and lake.
T: +41 848 091 091
In Piazza Grande o a casa sua: da noi il personaggio principale è lei.
Tempo libero
40 ANNI 1
40 ANNI 1
PardoLive  9 | 8 | 2015
Vivere momenti commoventi:
la Posta è anche questo.
La Posta fa molto più di quanto si pensi. Noi patrociniamo vari
festival cinematografici svizzeri. Favoriamo la cultura per
permettervi di vivere momenti unici:
Sponsor e partner retrospettiva Festival del film Locarno
The Last Tweet
Avez-vous demandé
plus de Clémence? #Locarno68
Lorenzo Buccella
Graphic design
Dimitri Bianchini
Aris Dotti
Michela Di Savino
Massimo Benvegnù
Mattia Bertoldi
Max Borg
Alessandro De Simone
Adriano Ercolani
Lorenzo Esposito
Sergio Fant
Aurélie Godet
Sara Groisman
Mark Peranson
Daniela Persico
Boris Sollazzo
Guest photographers
Alessio Pizzicannella
– cover
Sabine Cattaneo
Fabrizio Maltese
Vittorio Zunino
Celotto – mov(i)e
Gabriele Putzu
Fotofestival (Marco Abram, Massimo Pedrazzini, Samuel Golay, Sailas Vanetti)
by Vittorio Zunino Celotto
Raphaël Brunschwig
Elisa Bazzi
Luca Spinosa
Salvioni Arti Grafiche
PardoLive  9 | 8 | 2015
© UBS 2015. All rights reserved.
Enjoying together
Unique moments at the Festival del film Locarno.

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